Molly Hatch, ‘Molly Hatch, Aria, USA, 2016’, 2016, Todd Merrill Studio

Using the ceramic surface as both her canvas and subject matter, Molly Hatch extends her historically-inspired contemporary repertoire with Aria, a hand-painted wall installation.

Comprised of 37 earthenware hand-painted plates, the glazed surface of Aria becomes a fragmented canvas for Hatch’s delicate, painterly re-rendering based on an early 13th century Islamic plate from the collection of the Metropolitan Museum. Innovations in early Islamic luxury ceramics from this time include “minai ware” which introduced polychrome enamel designs and gilding onto previously glazed and fired pottery. Installed in a geometric honeycomb pattern, each round surface serves as a canvas for the artist’s brush strokes; together, the plates reveal the intricate abstract floral motif of its source material.

Hatch’s work has been widely collected and commissioned and exhibited at art fairs nationally and internationally. In 2013 Hatch had a solo museum exhibition at the Philadelphia Art Alliance and was included in New Blue and White, a contemporary decorative arts exhibition at the Museum of Fine Arts in Boston. In 2014, Physic Garden, a monumental 456-plate painting, was installed at the High Museum of Art in Atlanta, as well Caughley Landscape, another work commissioned by the museum and the Woodruff Arts Center. Chronicle Books published Hatch’s first illustrated book of paintings in March of 2015. Hatch is currently working on a multiple installation commission for the Newark Museum.

As Hatch works on a commission basis, custom dimensionality as well as source inspiration can be accommodated for a bespoke plate painting installation.

A full color catalogue of Hatch’s work is available by request through Todd Merrill Studio.

Measurements: 84″ H x 65″ W x 1 1/2″ D
Materials: 37 hand painted earthenware plates with glaze, underglaze and gold luster

About Molly Hatch

Molly Hatch scours textile and porcelain archives from museums around the world (the Victoria and Albert, the Metropolitan Museum, and the Cooper-Hewitt, to name a few) as inspiration for her ceramic objects and installations. Hatch draws patterns from historic source materials, enlarging and editing them, and spreading the intricate designs across vases or groupings of plates. In her most ambitious installations at the Museum of Fine Arts Boston and the High Museum Atlanta, Hatch has hung hundreds of painted plates in colorful constellations that shift from figurative to abstract, depending on where the viewer stands. “Exploring how the eye reads surface pattern, I have deconstructed the repeat pattern by highlighting select floral motifs on the surface of hundreds of porcelain plates,” she says of the impetus behind her recent installation Recite (2014). “Riffing on the historic as a musician may riff on a musical score, I offer Recite as my contemporary reinterpretation of this historic pattern.”

American, b. 1978, Richland Center, Wisconsin, based in Florence, Massachusetts